Author: Editorial Team

Mental Funeral was Autopsy’s second studio album, originally released back in 1991, and is rightly hailed as one of the greatest death metal albums of all time with its unhinged and uncompromising collection of odes to brutality & depravity, wrapped up in its highly distinctive raw, organic production.

To celebrate the 35th anniversary of the seminal album, Peaceville will be releasing two new editions on August 14th, featuring newly remastered audio courtesy of current Autopsy bassist Greg Wilkinson at his Earhammer Studios.

Mental Funeral was recorded at Different Fur Studios in late 1990, with engineering work conducted by Ron Rigler. The iconic artwork appeared courtesy of Kev Walker, who had already provided the (at the time) controversial cover for Autopsy’s debut, Severed Survival.

The 35th anniversary editions of Mental Funeral will be available in 2 new formats:

• Red/Green ink spot vinyl, featuring newly remastered audio courtesy of current Autopsy bassist Greg Wilkinson at his Earhammer Studios.
• Double-disc edition containing remastered audio and a special bonus commentary disc, with Chris Reifert, Eric Culter, and Danny Coralles all sharing their recollections of the writing and recording process for the album, and its inspirations.

One of the early breed of US death metal acts, Autopsy formed in 1987 in San Francisco. Drummer/vocalist Chris Reifert had gained initial recognition with Floridian genre pioneers Death and his participation on the classic debut, Scream Bloody Gore before this new morbid creation was birthed. Autopsy released 4 albums on Peaceville Records in the early part of their career – beginning with the legendary debut, Severed Survival, in 1989 – before disbanding in 1995, with members going on to become the stalwarts of sickodelia in Abscess.

Autopsy triumphantly and officially returned from the grave after a 15-year hiatus with the 2010 EP, The Tomb Within. This was followed by the release of the band’s fifth studio album, Macabre Eternal, in 2011, as the group celebrated a new era of popularity and creativity. This reverence continues to this day as Autopsy itself nears its 40th anniversary and still features the longstanding core trio of Chris Reifert, Eric Cutler, and Danny Coralles.

Pre-order Mental Funeral here.

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Anthology of Sombre Reflections is an expansive and comprehensive collection of the early and much-celebrated works of the Doom Gods, from the formative deathly rawness of the revered Towards the Sinister demo, God is Alone 7” tracks and subsequent debut album, As the Flower Withers, through to the gothic-tinged funereal seductive delights of 1996’s highlight, Like Gods of the Sun

With the addition of all-time genre classic opuses ‘Turn Loose the Swans’, and ‘The Angel and the Dark River’ also representing My Dying Bride’s much-loved early to mid-90’s period, the band’s three cult EPs are also featured in this deluxe eight-vinyl boxset, with each record presented on 180gm heavyweight black vinyl. The four studio albums themselves have also been treated to new half-speed masters courtesy of Air Studios.

Accompanying the audio is a 48-page book featuring photographs and artwork, plus new interviews with Andrew Craighan and Aaron Stainthorpe conducted in 2025 exploring some of the influences and thought-processes behind the creation of such cherished works of the 90s, as well as reflections of their output over this period.

Anthology of Sombre Reflections also contains 2 large posters depicting the ‘Turn Loose the Swans’ CD artwork image, plus the original poster included in ‘As the Flower Withers’. A selection of photo prints of the band from this era are also included.

After a career spanning over thirty-five years, from UK underground upstarts and outliers, to major success on the international stage – including tours with UK icons Iron Maiden and genre legends Dio – My Dying Bride have themselves become a firmly established pillar of metal history with a refined and influential brand of Death/Doom metal. With enduring popularity across subsequent decades, My Dying Bride remains a productive and captivating vessel for tragedy and despair, with their studio output spanning fourteen full-length albums to date.

As part of the Peaceville Three, along with fellow countrymen Paradise Lost and Anathema, My Dying Bride truly became a primary force in highlighting Britain as an epicentre of this Doom revolution of the time, creating a highly distinguishable sound assisted by the inclusion of violin & a more poetic approach to the delivery of morbid and salacious topics, lending an additional air of eccentricity and eloquence to the darkness.

Pre-order Anthology of Sombre Reflections here.

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Hard rock supergroup Iconic – featuring Michael Sweet on guitars, Joel Hoekstra on guitars, Marco Mendoza on bass, Tommy Aldridge on drums, and Nathan James on vocals – are pleased to share the new single and lyric video for “Valley Of Lost Souls,” ahead of the release of their upcoming album II, out on July 31, 2026 via Frontiers Music Srl.

Michael Sweet comments: “What a thrill it is to create and release music with such legends. ‘Valley Of Lost Souls’ is another song that solidifies who we are as a band and perfectly represents our goal – to remind people of the power of rock.”

Joel Hoekstra adds: “Big thanks to Frontiers for the opportunity to make music with these guys! I hope you enjoy ‘Valley Of Lost Souls’ as much as I enjoyed playing/recording it!”

Marco Mendoza states: “Here’s another killer track! Flying high with the Iconic flag, great band! Enjoy!”

Iconic returns with II, a second album that doesn’t just continue the band’s journey – it defines it. Where their debut introduced the chemistry between five world-class musicians, II sharpens that vision into a clearer, heavier, and more confident sonic identity, delivering a sound that is more powerful, more direct, and unmistakably rock.

At the heart of the album lies the electrifying guitar partnership of Joel Hoekstra and Michael Sweet, delivering a masterclass in soaring melodies, blazing solos, and muscular riffs that perfectly balance technical brilliance with pure hard-rock attitude. Beneath them, the rhythm section of Tommy Aldridge and Marco Mendoza drives the record with thunderous authority, creating a groove that is both massive and relentless.

The album kicks off with “Cry No More,” a high-octane opener that immediately sets the tone – an energetic slice of hard rock packed with driving riffs, explosive drums, and a chorus built to stick.

On the other side of the emotional spectrum, “Tears Keep On Falling” showcases the band’s dynamic range, unfolding as an electrifying power ballad where melody, atmosphere, and intensity come together in dramatic fashion.

Towering above it all is Nathan James, whose performance on ‘II’ is nothing short of extraordinary – powerful, soulful, and commanding, elevating every track with unmistakable presence.

With bigger riffs, deeper grooves, and a stronger sense of identity, II captures Iconic at full force: a band no longer introducing itself but fully owning its sound.

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Legendary hard rock bassist Rudy Sarzo, who played with iconic guitarist Randy Rhoads in Quiet Riot from 1978 to 1979 and again in Ozzy Osbourne’s band from 1981 until Rhoads’s death in a plane accident in 1982, has pushed back against the long-circulating narrative of a rivalry between Rhoads and Eddie Van Halen.

Speaking with Gastão Moreira of Brazil’s Kazagastão (transcribed by Blabbermouth), Sarzo was asked directly whether a rivalry existed between Randy and Eddie Van Halen. Rudy responded: “No, that’s… No, I think it’s a myth. A myth that people… We’re in a time in history where alternate realities are very common. People invent things to suit their own journey in life. People don’t know the difference between an opinion and a fact. So they’ll make a statement based on an opinion to somebody who has experienced what they’re talking about, because they’re so programmed to believe an opinion rather than a fact.”

Earlier this year, Quiet Riot’s original bassist Kelly Garni told the “Booked On Rock” podcast that Van Halen and Quiet Riot knew of each other, even though they only shared the stage one time while they were coming up on the Sunset Strip, on April 23, 1977, at Glendale Community College in Glendale, California.

“At some point, we became well aware of Van Halen,” Garni said. “Especially when we were at the Starwood, as we were for a number of years. And we knew they were playing down the street at Gazzarri’s, which wasn’t really our type of a club. Because the Starwood was. Of course, the Whisky was the Whisky, but it had more of a punk rock scene going on there. So, we kind of avoided that place. The punkers didn’t like guys that looked like us either, so you got the jocks and the punkers wanting to kill you.”

Garni, who was Quiet Riot’s bassist from 1975 to 1978 and played on the group’s first two albums — 1978’s Quiet Riot and Quiet Riot II, which were released only in Japan — went on to say that there was “no competition” between Eddie and Randy. “And most certainly, there was no competition in Randy’s world,” he explained. “Because Randy didn’t compete. It just wasn’t in him to try to compete. He couldn’t. The way his brain was wired, he could not form the thought, ‘Oh, I’m gonna be better than that guy.’”

As for whether Eddie and Randy ever met, Kelly said: “[Randy] went down to Gazzarri’s because people were talking about this guy, and Randy said, ‘Well, I’ll go see what the deal is.’ So he went there, he and his girlfriend Jan, and he wanted to meet him. He saw him play, and he went, ‘Yeah, okay, the guy’s good.’ And so when they got all done, Randy was trying to get backstage to meet him, and he did get back there.”

“You gotta remember, Van Halen was doing all cover tunes at this point,” Garni continued. “Every once in a while, they’d sneak in one of their originals. But that was the deal at Gazzarri’s, is a more upscale crowd went there, that weren’t the rowdy, unpredictable, way-underage bunch at the Starwood.”

“So he did get back there, but Eddie was acting kind of crazy and bouncing off of walls in his underwear,” Kelly recalled. “And Randy was, like, ‘Oh, okay. Well, not the best time to meet this guy.’ So that was his opinion. He said, ‘Yeah, he was really good. But he looked kind of nutty.’”

Rhoads’s pre-Ozzy band Quiet Riot had been gigging on the Sunset Strip in West Hollywood, California, at the same time as Van Halen. Although both Rhoads and Van Halen later became some of the most influential guitarists of the 20th century — playing with a similar flair and incorporating finger-tapping into their fleet-fingered solos — Eddie found commercial success before Rhoads, due in part to the fact that Van Halen landed a record deal years before Quiet Riot did.

Rhoads and two others were killed on March 19, 1982, when the small plane they were flying in at Flying Baron Estates in Leesburg, Florida struck Osbourne’s tour bus, then crashed into a mansion. Rhoads was 25 years old. Eddie Van Halen passed away in October 2020 at St. John’s Hospital in Santa Monica, California. The 65-year-old died from complications due to cancer.

The post RUDY SARZO Says Publicized Rivalry Between EDDIE VAN HALEN And RANDY RHOADS Is A Myth: “People Invent Things To Suit Their Own Journey in Life” appeared first on Sonic Perspectives.

Ramones Productions, Inc. and Hollywood Forever have announced the official Ramones 50th-anniversary tribute, taking place on the evening of August 30, 2026, at Hollywood Forever Cemetery in Los Angeles. The event will serve as the first milestone celebration commemorating 50 years since the release of the Ramones’ self-titled debut album and will be hosted by screen icon John Travolta.

The centerpiece of the evening is the inaugural live performance from Cretin Family — a supergroup comprising Tim Armstrong (Rancid), Billie Joe Armstrong (Green Day), Travis Barker (Blink-182) and CJ Ramone (Ramones), along with special surprise guests — playing a set of Ramones songs. The night will also feature a double-feature screening of the 50th-anniversary deluxe edition of Carrie and Travolta’s new film Propeller One-Way Night Coach, a guest DJ set from Shepard Fairey, and proceeds benefiting David Agus MD Cancer Research at Ellison Institute.

Linda Ramone said: “I’m excited to celebrate the best band ever with Ramones fans from all over the world, and to welcome our new generation of fans. See you at Hollywood Forever. Hey Ho, Let’s Go! Gabba Gabba Hey!”

John Travolta added: “Two years ago, I had the pleasure of experiencing the Hollywood Forever Johnny Ramone tribute for the first time. It was a blast, and I want to return again for the Ramones tribute! With showing something new, my directorial debut, ‘Propeller One-Way Night Coach.’ And something old, the 50th anniversary of original ‘Carrie.’ It is going to be a fun night. See you there!”

Tim Armstrong said: “From the moment I first heard the Ramones, music was never the same. They are my favorite band of all time! I can’t wait to play those great and perfect Ramones songs with my friends CJ, Travis and Billie. It’s gonna be wild!”

Billie Joe Armstrong said: “The spirit of the Ramones is alive in every backyard punk show, punk club and festival. Generation after generation of cretins and weirdos become Ramones lovers. Kids are influenced by the Ramones and they don’t even know it yet. ¡Viva Ramones!”

Travis Barker said: “The Ramones are the blueprint. Punk rock wouldn’t be what it is today without them. I’m honored to celebrate 50 years of one of the greatest bands ever!!!”

CJ Ramone said: “This is gonna be the biggest celebration of the Ramones anyone has seen for a long time!!!”

With the release of Ramones in 1976, the Ramones ignited the punk rock revolution. Fast, loud and relentless, Joey Ramone (vocals), Johnny Ramone (guitar), Dee Dee Ramone (bass) and Tommy Ramone (drums) cut through the era’s excess with a brash attitude and a set of songs — “Blitzkrieg Bop,” “Judy Is A Punk” and a dozen other short, combustible, groundbreaking blasts — that were like nothing else at the time. Rolling Stone named Ramones the No. 1 greatest punk album of all time this year, writing: “Punk rock started in 1976 in New York, when four cretins from Queens came up with a mutant strain of blitzkrieg bubblegum. The revolution they inspired split the history of rock & roll in half.”

Ahead of the tribute, Rhino will release a limited-edition first-time picture disc pressing of Ramones on July 17 and a 2LP colored edition of Ramones Live At The Roxy, 8/12/76 on July 31 as part of its Spirit Of ’76 campaign. Tickets for the official Ramones 50th-anniversary tribute are available now here.

The post BILLIE JOE ARMSTRONG, TRAVIS BARKER, TIM ARMSTRONG & CJ RAMONE Form CRETIN FAMILY Supergroup for Official RAMONES 50th-Anniversary Tribute appeared first on Sonic Perspectives.

These lions rock with pure horsepower.

It could be said that any musical endeavor lives and dies by the vision of its principal composer, but it is equally important that the caliber of musicians employed to translate that vision into a reality be top-notch. Regarding both, former Survivor keyboardist and prolific songwriter Jim Peterik has always had all bases covered when delivering a fresh opus of earworm anthems, be it smash hits like “Eye Of The Tiger”, “Burning Heart”, or a host of bangers with the likes of 38 Special and jazz rock icons Ides Of March.

In recent years, much of his energy has been focused on recapturing the same spirit that typified the 80s peak of AOR via Pride Of Lions, a collaboration with vocalist Toby Hitchcock and a cast of formidable instrumentalists that has been flying under the Frontiers Records banner since 2003. Now eight studio albums deep into the game, the latest LP Unbridled finds Peterik and company upping the creative ante considerably, blurring the line between retro rock nostalgia and present-day practices.

The energy factor wants for nothing even as the opening notes of this massive, 57-minute studio excursion unfold. Beginning on what can be best described as the AOR answer to Van Halen’s “Eruption”, the opener and title anthem “Unbridled” sees guitarist Mike Aquino putting on a six-string master class to rival many of the shred icons of the 80s, yet coming off as tasteful enough to make room for those signature melodic hooks that are the hallmark of Peterik’s sonic formula.

Between its extremely upbeat and riff-happy character, one might even go so far as to assume that this outfit let the cat out of the bag early and spent their best ideas on the first 6 minutes of the album, but the ebb and flow of rocking fanfare that immediately follows dispels this notion immediately. Be it the dramatic, guitar-driven fire of “Edge Of Forever” that could pass for a repackaged theme song for Rocky V that never was, or the inspirational power balladry that recalls the spirit of the original Karate Kid trilogy “Don’t Waste A Wish On Me”, the winning moments continue to pile up.

Though most of what occurs through this lofty album’s 12 chapters carries a strong stylistic aroma for what now seems a bygone era, the coat of paint that it sports definitely fits with where things stand in 2026. Mostly manifesting in a production quality that feels more up close and personal when measured against the analog era of Peterik’s career, more acoustically driven odes like “1000 Long Goodbyes” and the almost country-like power ballad “What The Whole World Needs To Know” carry a similar air of intimacy to the more confessional character of the post-90s rock era, even when accounting for the brilliantly vibrant vocal performances of Peterik and Hitchcock that ring similar to AOR contemporaries like Styx and REO Speedwagon.

In fact, the entire middle point of this album leans quite heavily into the ballad department, with standout entries like “I Can See In The Dark” and “Hell Of High Water” spearheading a more vocal-oriented array of craftsmanship that, nevertheless, comes with a healthy amount of melodic guitar and keyboard input to complement the steady grooves and soaring voices.

But for all the partial flirtations with modern rock trappings and the tendencies towards a more rustic atmosphere, Pride Of Lions ultimately hangs its hat on a mode of musical triumph that dates back to when video allegedly killed the radio star. Be it the explosive trifecta that kicks the album off or later guitar-focused banger entries like “I Can’t Let Go” (which sounds like an unofficial sequel to Survivor hit “I Can’t Hold Back”) and the album’s closer and appropriately named “A Mighty Noise”, Peterik has definitely opted to remember his 80s AOR roots quite loudly.

By the same token, the extremely boisterous and high-flying vocal delivery of Toby Hitchcock often closely resembles the signature timbre and luster of Jimi Jamison (R.I.P.), while barring the aforementioned shred fest that kicks the album off, guitarist Mike Aquino often channels the same tasteful melodic character as Franky Sullivan. Indeed, the entire arrangement that brings Unbridled into being could well pass for a 2026 reunion of Survivor, and those who fell in love with what they brought to the masses during the mid-80s are at the center of the wide net that this album has cast.

Release Date: July 10th, 2026
Record Label: Frontiers Music Srl
Genre: AOR

Musicians:

• Toby Hitchcock and Jim Peterik / Lead Vocals
• Ed Breckenfeld / Drums And Percussion
• Mike Aquino / Lead Electric And Acoustic Guitar
• Jim Peterik / Keyboards & Secondary Guitars
• Bob Lizik / Bass Guitar

Unbridled Track-list:

1. Unbridled
2. Edge Of Forever
3. Don’t Waste A Wish On Me
4. 1000 Long Goodbyes
5. What The Whole World Needs To Know
6. I’ll Be Your Rock
7. Hell Or High Water
8. Ride The Lightning
9. Lose Like A Winner
10. I Can See In The Dark
11. I Can’t Let Go
12. A Mighty Noise

Order the album here.

The post PRIDE OF LIONS – Unbridled (Album Review) appeared first on Sonic Perspectives.

German/American heavy metal legends Accept celebrate 50 years of pure power with a landmark all-star release. Teutonic Titans 1976–2026 arrives Sept. 4 via Napalm Records and features 19 reimagined versions of the band’s biggest tracks, performed by an unprecedented 50 guests drawn from across the heavy metal world. Led by longtime guitarist and sonic architect Wolf Hoffmann, the album stands as Accept’s most ambitious and star-studded release to date.

The band has now shared the album’s second single — a new recording of “Balls To The Wall” — featuring Rob Halford (Judas Priest), Matthias Jabs (Scorpions), Rex Brown (Pantera) on bass and Jason Bowld (Bullet for My Valentine) on drums.

Hoffmann comments: “There is no better way to celebrate this 50-year anniversary than to have our musical peers, friends, and inspirations come together with us to record these classic Accept songs, which I am honored and proud to share with the world. I hope everyone enjoys this very special record as much as we all enjoyed making it.”

Progressing chronologically from their formative years — from “I’m A Rebel” (1980) through “Eat The Heat” (1989) — no two songs on Teutonic Titans 1976–2026 feature the same lineup. Every track pairs a different combination of vocals, guitars, bass and drums with the signature voice of Mark Tornillo and Hoffmann’s unmistakable riffs. Tobias Forge (Ghost) delivers a commanding performance on “Save Us” (from I’m A Rebel, 1980), joined by Ray Luzier on drums. Philip Anselmo (Pantera), Kirk Hammett (Metallica) and Mikkey Dee (Scorpions) tear through the speed metal classic “Fast As A Shark” (from Restless And Wild, 1982). Billy Corgan (Smashing Pumpkins) and David Ellefson (Megadeth) elevate the reimagined “Love Child.” Other guests include K.K. Downing (Judas Priest), Bobby “Blitz” Ellsworth (Overkill), Hansi Kürsch (Blind Guardian), Chris Jericho (Fozzy), Ralf Scheepers (Primal Fear), Billy Sheehan (Mr. Big), Ola Englund (The Haunted), Jeff Loomis (Nevermore) and Jason McMaster (Dangerous Toys), who handles vocals on the re-recorded “Hellhammer” alongside Accept’s current touring lineup.

Hoffmann comments on the new version of “Balls To The Wall”: “Rob is the Metal God. I don’t need to say any more about him. Once we knew that he would do it, it was an obvious choice to give him ‘Balls to the Wall’ because it’s the best fit imaginable! I played all the rhythm guitars. Matthias Jabs from Scorpions played the solo, which is very cool and a huge honor, and it’s Rex Brown on bass and Jason Bowld on drums. So that’s a really cool package.”

Last month, Accept released the album’s first single, “Fast As A Shark,” featuring Anselmo, Hammett, Dee and Sheehan.

Hoffmann commented on “Fast As A Shark”: “This song was so much fun! We even re-recorded the intro in a Bavarian oompah style… a friend of mine lives in Bavaria, and he was in contact with one of those traditional Bavarian woodwind outfits, and they recorded the traditional German folk song ‘Ein Heller Und Ein Batzen’ for us, which was fantastic. We were lucky to get Phil Anselmo on vocals, Billy Sheehan on bass, and of course Kirk Hammett on guitar, which is amazing, and Mikkey Dee on drums, so that’s a pretty nice supergroup, isn’t it?”

Hammett added about “Fast As A Shark”: “A real honor to pay back the great inspiration Accept had for me!”

Over the past five decades, Accept has sold millions of albums and inspired countless musicians. Their iconic albums — Balls To The Wall, Restless And Wild and Metal Heart — have left a lasting mark on the heavy metal genre. After a hiatus, Hoffmann was introduced to New Jersey singer Mark Tornillo in 2009, and the band reformed almost immediately to global success with chart-topping releases. Tornillo, now the longest-reigning frontman in the band’s history, joined as the replacement for original lead singer Udo Dirkschneider and can be heard on Accept’s last six studio albums.

Accept 2026 is Wolf Hoffmann (guitar), Mark Tornillo (vocals), Philip Shouse (guitar), Christopher Williams (drums) and Martin Motnik (bass). Pre-orders for Teutonic Titans 1976–2026 are available now in various exclusive formats.

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Social Distortion has released the official music video for “Tonight”, one of the standout tracks from its latest album, Born To Kill. The song has already earned praise, with Rolling Stone calling the record the band’s “best album in years.”

Filmed in Tulsa, Oklahoma, the video was directed by John Swab, known for the cult film Candy Land and the upcoming Netflix movie Fast & Loose starring Will Smith. The clip centers on a love story featuring Johnny Angel Rios-Ness, the son of Social Distortion founder Mike Ness. Father and son both appear in the video, which pairs Mike Ness‘s performance with a storyline inspired by his relationship with his wife of more than 30 years, Christine Ness.

Released on May 8 through Epitaph Records, Born To Kill marks Social Distortion‘s eighth studio album. The record opens with its title track, “Born To Kill”, which was selected as one of Rolling Stone‘s “Best Songs Of 2026 So Far.” Throughout the album, Mike Ness pays tribute to several artists who helped shape his songwriting, including Lou Reed with the line “Rock ‘n’ Roll Animal gonna come your way!”, The Stooges through “The agenda is yeah to Search and Destroy”, and David Bowie with “It’s a Rock ‘n’ Roll Suicide” on “Partners In Crime”. The album embraces those influences while continuing to build on Social Distortion‘s own sound.

Born To Kill was co-produced by Mike Ness and Dave Sardy. The album also features guest appearances from Benmont Tench of Tom Petty And The Heartbreakers and Lucinda Williams, while the cover artwork was created through a collaboration between Mike Ness and Shepard Fairey.

The new release joins a catalog that stretches back more than four decades, including Mommy’s Little Monster, Prison Bound, the RIAA Gold-certified Social Distortion, Somewhere Between Heaven And Hell, White Light, White Heat, White Trash, Sex, Love And Rock ‘N’ Roll, and Hard Times And Nursery Rhymes.

Social Distortion will spend the coming months supporting Born To Kill on an extensive North American tour running through October 3 in San Diego. The Descendents and The Chats will join the tour as support acts from August 25 through the final date.

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Amon Amarth has taken an unexpected turn with its first acoustic release, “Upphaf”. Rather than relying on the band’s trademark melodic death metal attack, the new track presents a stripped-down interpretation inspired by Norse storytelling. Built around haunting melodies and layered choral arrangements, the song captures the atmosphere of a tale shared around a longhouse fire, offering a different perspective on the band’s enduring fascination with Oden ahead of its next full-length studio album.

“Upphaf” was produced by Jacob Hansen and is available digitally through Metal Blade Records, accompanied by a music video directed by Pavel Trebukhin.

Since forming in 1992 in Tumba, Sweden, Amon Amarth has grown into one of metal’s biggest live acts. Over the years, the band has toured alongside Slayer, Guns N’ Roses, Foo Fighters, and Pantera, while also headlining its own major shows, including sold-out performances at The Forum in Los Angeles and Red Rocks Amphitheatre in Denver.

Festival appearances have played a major role in the band’s rise. Amon Amarth has headlined some of Europe’s biggest events, including a 2024 performance at Wacken Open Air in front of 85,000 fans. Louder described that show as “a 19-song masterclass in unbeatable, indefatigable force…a repertoire of songs that can conquer the biggest crowds on the planet,” highlighting the band’s reputation as one of metal’s premier live attractions. The group has also twice topped the bill at Bloodstock Open Air, appeared four times at Download Festival, and played Summer Breeze on eight occasions, six of those as headliners.

The band’s audience has continued to expand without moving away from the heaviness that built its reputation. Interest surrounding Amon Amarth‘s 2026 North American tour with Dethklok and Castle Rat reflects that continued momentum, attracting fans across multiple generations.

Commercially, Amon Amarth has maintained a strong presence on the charts. Jomsviking reached No. 1 in Germany, while both Berserker and The Great Heathen Army topped the U.S. Billboard Hard Rock Albums chart and the Canadian Billboard Top Current Albums chart. The Great Heathen Army also earned a Grammis nomination for Hard Rock/Metal Album of the Year.

Few modern metal bands have influenced concert culture the way Amon Amarth has with the now-famous Viking row. Widely believed to have started during the band’s 2009 appearance at Bloodstock Open Air, the tradition sees fans sitting on the ground and mimicking the rowing of a Viking longship together. The release of “Put Your Back Into The Oar” in 2022 further embraced the ritual, with frontman Johann Hegg saying: “We thought it was a good idea to write a song about The Row! This one is for you, the fans, wherever you are — and may Oden guide you as you row to your destiny in uncharted seas!”

The Viking row has since spread beyond Amon Amarth shows, appearing at concerts by other artists and even among crowds during the 2026 World Cup. Even so, video footage continues to point to Amon Amarth audiences as the origin of the now-recognized tradition.

More than three decades after the band’s formation, Amon Amarth remains built on the same sense of unity that has defined its career. That spirit is reflected in Johann Hegg‘s lyrics from last year’s “We Rule The Waves”:

“From cradle until the grave / As long as the sun sets in the west / We rule the waves / Our restless hearts / Have brought us far / As far as Vinland’s shores / We’ve gone further / Than any man has ever gone before.”

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Five Finger Death Punch has added another milestone to its career, landing its 18th No. 1 single on Billboard’s Mainstream Rock Airplay chart with “Eye Of The Storm”.

The track has already drawn strong reactions from rock and metal media. Revolver wrote that it “mixes a flurry of battering metal chugs with a sense of melody, plus Ivan Moody‘s pensive-but-barked lyrics hinting at fears, regrets, burdens, blame, and the search for some kind of inner peace,” while Loudwire described it as, “The song is a driving, furious banger that kicks off what’s expected to be a new album cycle in grand fashion.”

With the success of “Eye Of The Storm”, Five Finger Death Punch has extended its record for the longest streak of consecutive No. 1 singles in the 45-year history of Billboard’s Mainstream Rock Airplay chart.

The song appears on the band’s upcoming tenth studio album, Legacy. The digital edition is scheduled for release on July 31, while CD, vinyl, and cassette editions will follow on September 18.

Meanwhile, Five Finger Death Punch continues to support its recent releases, Best Of – Volume 1 and Best Of – Volume 2. Both collections include newly recorded versions of some of the band’s best-known songs. Among them are the chart-topping “I Refuse”, featuring In This Moment vocalist Maria Brink on Best Of – Volume 1, and “The End”, featuring Babymetal, on Best Of – Volume 2.

“The End” topped Japan’s iTunes Metal chart and climbed to No. 18 on the country’s overall iTunes chart, marking another notable achievement for an international rock act. In the United States, the song also became the first rock radio chart entry to feature Japanese lyrics, eventually reaching No. 1.

Both Best Of – Volume 1 and Best Of – Volume 2 were produced after the band’s original master recordings were sold without Five Finger Death Punch being informed or given the chance to recover ownership of them.

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